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[untitled]

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00:30:00

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Channel 89 (615 MHz)

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mpeg2video

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ac3

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480

TOPIC FREQUENCY

Us 15, Newsom 3, Diane Feinstein 2, Scott 2, Feinstein 2, Shanghai 2, Mr. Hcange 1, Mr. Frazier 1, Zhang Huan 1, Kate Patterson 1, Mrs. Yang 1, Dr. Abraham 1, Jon Stewart 1, Joe Baptista 1, Joe 1, Mr. Howard Adnd Teresa Hu 1, Bruce Grimes 1, Hillary Clinton 1, Alison Cummings 1, Leslie 1,
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  SFGTV2    [untitled]  

    September 20, 2010
    7:00 - 7:30pm PDT  

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audience members are heard. >> my name is bruce grimes. i am an independent writer and producer of television, going back to "rolling stone." my question will relate to the comment about quality from dr. abraham. specifically about journalists today. 250 people, ranging in age between 25 and 35, pretty frightening. they were new media folks from a content perspective. what i came away with listening to them talk about their audience, reaching out, being writers, was scared me was how selfish the audience seemed to be.
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subway breakfasts, your comment about crime and people being tired of reading about it, they were reaching for people like this, this is how they were going to make money. it scares the hell out of me. i brought it back and brought it up, especially in the '60s and '70s, it was a extremely political newspaper magazine that used music to bring in an audience. so, my question, what about the new journalists today reaching out to the 20-year-old and 30- year-old? your comment about the two schools of journalism and reaching out, getting quality journalism to the public, how will we do that? >> we have a couple of issues here. the old school and the new school. i guess the question would be --
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is there a standard? a single standard anymore for journalism? >> i do not know who sets that standard anymore. frightening, sometimes, to hear the fact that the most trusted name in news is jon stewart. but who can argue that there is not some good quality reporting and information that goes on on a show like that? i think it will be far reaching. we have young people, both in print and on the internet. it is a wide range of
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opportunity. i do not know that there is any one standard today that anyone could point to that would be the single source. >> what about the chronicle right now? reducing $1 million per week, what does that look like right now? >> thank goodness we are not losing $1 million per week today. i am happy to say that. to give you an idea, fourth quarter of last year, in the toughest economic times of this country that we have seen since the great depression, it was a record quarter for us for the decade. now, the bar was awfully low, but it was a profitable quarter. started out at the beginning of the year, in this type of environment, not making money today. but we are on our budget and on our plan. the last six months of the year
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looked to be a strong revenue environment for us. we think we will be fine overall for the year. >> we have gone over our time a little bit. one last question. >> this is for mr. frazier. the panel last night, it looks like there is no after the chronicle, so congratulations. we were talking about how people to get them to eat their broccoli with their ice-cream. reading city hall coverage with subway breakfasts. can you talk about ways you are experimenting with getting people to eat them both? making it palatable? concrete experiments that you will try? >> that will -- that sounds terrible. [laughter] >> maybe we can have broccoli with cheese?
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i do not think that there is a simple answer. i think that people come to read various news sources. there will be multiple sources. some for entertainment, some for other resources. the key thing about broccoli and in sustaining a democracy, it tells us what we need to know even if we did not need to know it. it is about the role that the journalist plays, telling the community what we did that no we needed to know. cheese, ice cream, it does not matter. that means editors. that means transparency. that means education about media. it means membership of junior journalists. without all of those things, there is no broccoli. no one will tell us what we need to know that we did now know we
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need to know. >> on that note we will have to conclude today's town hall forum. we hope that you enjoyed it. it has been presented by the northern california chapter of professional journalism. they've asked me to express thanks to tonight's panelists. thank you for being here today. [applause] thank you to the audience as well. give yourself a clap, making it on the tuesday evening from work or whatever. we would also like to thank the san francisco public library from -- for sharing this facility, the crew from sfgtv, thank you for joining us. we wish you good news in everything that you do. [applause]
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>> thank you very much for joining us tonight. i would appreciate it if folks would move into the lobby for conversation.
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there is really, only one boy... one girl... one tree... one forest... one deep, dancing ocean... one mountain calling... one handful of sand through our fingers... one endless sky overhead... and one simple way to care for it all. please visit earthshare.org and learn how the world's leading environmental groups are working together under one name.
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earth share. one environment... >> welcome to the san francisco civic center. if so the president of the san francisco arts commission. -- i am the president of the sentences " arts commission. we're pleased to present to you today this incredible temporary work of art. three heads, six arms by the internationally renowned artist. this is conjunction with the 30th anniversary city celebration. you will hear more about that as well. we're pleased to have you here.
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we're pleased to have the artist join us today along with our various partners in this effort. this piece will be with us for 18 months. everyone will have a chance to see it in various lights and from various angles and be able to enjoy his presence here and san francisco. i cannot imagine a more gorgeous morning to kick this off. thank you for joining us. we have the mayor, who told his staff and the folks at the san francisco arts commission that he wanted something spectacular to mark the anniversary. you will hear from the people who took that directive and got it done. first and foremost is the executive director of the san francisco arts commission. working with the rest of the
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staff at the arts commission, the managed to gather the various components and people that needed to help to bring this to fruition and get it done in time for the celebration. without further ado, louis cansel. >> this is a phenomenal turnout. i am very pleased on behalf of the arts commission. i want to thank you for taking the time to join us for this dedication ceremony. the arts commission is especially grateful that mayor newsom, and others, and especially the creator of this magnificent sculpture could all be here today to celebrate the dedication of this work in the heart of our city. mayor newsom, the staff, the
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commissioners, and i are especially proud to work for a mayor who normally supports the arts, the challenges us to do more, to be older -- bolder. i distinctly recall that about eight months ago, he said that he wanted something big. he said he wanted something impactful and controversy of that push the envelope. mr. mayor, i hope this is big enough for you. the arts commission celebrated its 40th anniversary and made history with the debut of the glass memorial. what is missing is at the academy of silecience. we may to history again with the world premiere of the new sculpture by
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this artist. i think that is worth around applause. [applause] -- today, we make history again with the world premiere of the new sculpture by this artist. he gained international notoriety for his early performance art captured anin photographs that now grace the walls of some of the most significant museums, including the san francisco museum of art. after he moved to san francisco in 2005, he started a new chapter in his artistic career by embracing a more traditional mode of painting, drawing, and sculptures. tools work -- his work now exemplifies a more traditional link with his culture.
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he continues to use the body is the primary vehicle for exploring questions related to tradition, history, and personal experience. this work is part of an important series of monumental works depicting be fragmented extremities of buddhist sculptures that inspired his discovery of religious sculptures that did been destroyed during the cultural revolution and were for sale in a tibetan market. mr. hcange was deeply -- he was deeply moved by the damaged sculptures. with this work, he believes he is able to alleviate the pain caused by their destruction. it is a commentary on the changing reality the chinese people who are being forced to reconcile their deep-seated traditions in the face of the country's successful and rapid modernization.
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with this sculpture, mr. change presents us with a vision of hope that these two seemingly opposing forces can coexist with equal value. thanks to the gallery and the generosity of our many sponsors that our next speaker will address. i am happy to announce that the sculpture will be here through the end of 2011. i am also proud to announce the the national endowment for the arts award the arts commission is $70,000 grant, the second- highest this year, to support the bringing of this sculpture to san francisco. we're grateful to the chairman for that support. i want to take a moment to introduce the person, part of
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the team here at the san francisco arts commission, but really the person who spent many sleepless nights trying to overcome the various obstacles associated with the transport and bringing this fabulous sculpture here to san francisco. please join me in welcoming and banking -- thanking jill for her great work on behalf of the city of san francisco. [applause] >> thank you. that was wonderful. welcome to everyone. can you hear me? i know that i have a soft voice. this is a glorious event. i am so happy that you are here to join us. i am amazed at how art to galvanize an entire city. literally overnight, a think the buddha has become the talk of the town. my main purpose is to identify and thank the many people
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involved on both sides of the pacific ocean. without their help, this project could not been realized. to " the former first lady, hillary clinton, "it takes a village." with this project, that phrase could not be more true. as the project manager, i am the common thread connecting the many visible and invisible contributors to the project. i know that thank you's can be the most boring part of the ceremony and people generally to and out. please listen because my list will help you to learn the complex and dramatic sage of its dramatic journey from shanghai to san francisco. it is very complex to bring a project of this sale to for -- of this scale to fruition at the
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top of my list, and must think the artist. [applause] he has given us the true honor and privilege of displaying his wonderful sculpture and our most public places. i also want to thank mayor newsom for giving me arts commission and the mandate to do something big and spectacular for the city. that is all i needed to hear to get something -- to get me going. i hope we have achieved what you desire. i am glad we pleased the mayor. we always want to do that. with the approval of my boss and the arts commission -- without their approval, this would have been dead in the water. thank you to all of them for
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supporting this idea. with their usual enthusiasm for placing art, i p want i phiwantk the department of support of the sculpture. it was after was able to verify that the 30,000 pound weight would not crashed into the parking garage. engineering also contributed to this project. so many people gave and gave. this is somewhat chronological. there are still some big names to mention here. they provided the structural engineering calculations at no cost to the city. i was able to convince rec and pa the wickedrk -- i was able to convince rec and park that we could install this without doing damage to the city property.
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the engineer told us it had to be within 12 inches of the center line of the plaza. it disturbs my sense of symmetry. i kept trying to move my head. we had to listen to the engineers. there was very little latitude for artistic intervention. now that i have the city approvals lined up for the most part, i asked the gallery in new york if they would consider my proposal. joe baptista from the gallery supported the idea and obtained approval from the artist. this was the make or break moment in the project's history. thank you, pace gallery, joe,
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and zhang huan for loading us this wonderful piece of art. mr. howard adnd teresa hu met me for a drink. they asked what they could do. when i explained that i hoped it would help me to ship it from shanghai to san francisco at no cost to the city, that was my idea wish. my less than ideal wish was that they would do it and a great discounts. i caught them exchanging glances. howari caught them exchanging glances. howard said it would take care of it. this is a great moment. [applause]
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please stand up so that we can recognize you. this is a san francisco-based company with offices anin shanghai and around the world. this project and the impact on the city appealed to them. thank you for your great gift. they went to work and quickly brought in victor. victor flew in from hawaii. provided the shipping free from shanghai along with a lot of the management and paperwork. stand up, victor. they did an excellent job. [sirens] the torso was too big to fit in the container. they put it at the top of the ship. it was wrapped in red.
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i like to think of the buddha guarding the journey of this ship across the pacific. thank you so much, victor. [applause] i also want to thank the hus for giving us the expertise of their staff. scott. they didn't say ok, we will do this for you for free, but they actually had their staff work with us on a daly basis and help us really project manage the details and logistics and the complications of exporting a work of this scale and complexity. would you please stand as well diana, leslie and scott? i couldn't have done it without your expertise and guidance. we are total novices at bringing 30,000 pounds of a copper and bronze sculpture
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from shanghai. thank you so much. [applause] now that we had the shipping and the export taken care of, the project really gained tracks, and with that, our development director was able to add that information to our pending grant with the national endowment for the arts that was mentioned, and we procured that $70,000, one of the highest awards given. everything builds up, and again, it takes a village. every day somebody else participated and added more. scott, the president of fine arts handling, puts his heart and soul into everything he does. he was so taken by the spirit of this project, that his company also waived their administrative fees. everyone wanted to do it at virtually no cost to the city. that was amazing to me.
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city departments don't work that way. they say send the money over, and then i will do the work. i want to thank brian, the head of the crew who flawlessly with a crew of eight or 10 people the installation. they finished ahead of time. it involved them crawling inside the buddha to aattach and bolt it together. you did a flawless job, and i know the artist is happy. thank you. [applause] >> you are polite for clapping and applauding. i hope i am not boring you. everything we want well until we hit a cultural road block, for the vessel departure. at this point we reached out and called upon the gracious
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and well-kembinged former arts president, rosslyn swigg, who is not with us. she wrote and e-mail to senator diane feinstein, and before i knew it, the offices of senator feinstein were working on this. i know we have a representative from diane feinstein's office. could you raise your hand? where are you? [applause] thank you so much. within two days we had a letter from senator feinstein that was sent to the shanghai office of foreign owe fares urging their support and expediting the paperwork. now with this very official letter, we worked with the vice
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counsel of the chinese consulate and of the shrank high -- shanghai office of foreign affairs, and the director of the asian arts music and his director. we refer to mrs. yang of the shanghai cultural association. i want to say that the shanghai team and others finalized the paperwork, obtained the customs cleernls, not with a moment to spare. we had already missed two boats. this was the last boat in order for us to make this dedication. with that, with the mayor's future and schedule, who knew if we would ever get this gathering together. we are really pleased that it all worked out. i had a terrific professional team of staff at the arts commission. smart problem solvers with a
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good sense of humor. i would like to single out alison cummings, wherever you are. [applause] >> alison, our senior registrar for our outstanding work in helping coordinate this project and her ability to stay cool and calm all of the time, as well as kate patterson, our communication expert extraordinarya. >> and gene -- jean, who took care of several things. and last, but not least, our city attorneys, who worked on the details of the loan agreement and procurement to make sure all sides were protected, and that is what we want. head another contributor. the huntington hotel graciously
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agreed to not charge for the artist's stay. with so many partners, i have to say this is truly an exemplary public-private partnership. most of the cost of the project has been private contributions. i would like to ask you one last time to applaud this small village of individuals on both sides of the pacific who made this dream a reality. thank you. [applause] >> thank you. so clearly, it takes a lot of work and a lot of people to bring a 10-ton sculpture across the pacific ocean, and bring it to the san francisco civic center. i know everyone wants to get to the mayor and hear from the artist. i want to quickly bring to the